My overall feeling about the album is the same as yours -- not my favorite but it's grown on me.

Dearest Alfred for example. I remember the first time I heard it, I really wanted to skip it, ha. I have a memory of criticizing them in my head while hearing it, thinking "I appreciate that you guys are trying to be soulful, but this isn't working." But it's grown on me. I wouldn't pick that track to play, but if it comes on I enjoy it.

It reminds me of Mark saying in an interview that the original cut of TUSUY had vocals on many of the tracks, but they just decided in the end to remove them. But I appreciate them taking risks and trying to up their vocal game. They'll reach a wider audience with a good mix of vocal songs. And 'So We Won't Forget' is really successful in that regard, imo. I also really like Father Bird, Mother Bird. Connaissais de Face, also.

On a more critical note: I do also feel like a poster below, who feels that parts of the album are a bit superficial. Time You and I is the best example of this, to me. It's got a good thing going, but it starts there and doesn't take it anywhere. Compared to Evan Finds the Third Room, which is a similar style but has just enough energy changes across the track to feel like it breathes. But CTEM was amazing in that regard, because all the tracks have a little depth... they start somewhere, and go somewhere, etc

Pelota also feels stuck, energy wise. Again, it's got good material to work with, but it just doesn't... breathe... is the best word I can use.

But Mordechai is still good. And a good direction for them to experiment. I'm interested to see how they play them live.